Humour can be described at various levels,
from a cultural level to an individual level and arguably humour is a cultural
construction, a cultural capital that is used at an individual level for
purposes of expressing the potential scope of human experience, and includes
techniques for coping with adversity, representing uncomfortable or unconscious
truths and challenging the representational ability of language itself. Its subjects are the scope of human experience
and include gender, hierarchy, ideology, economics and prejudice. There are various theories on humour that individually seem to
focus on particular aspects such as, absurdity, repression, status hierarchies
and cooperation to name a few, but they
tend to make some common observations, the most significant one being humour reflects a set of incongruous
conceptualizations or paradoxes and it is able to address taboo topics or transgress
social expectations.
In a
journal article titled “The First Joke: Exploring the Evolutionary Origins of
Humor” by Joseph Polimeni and Jeffrey P. Reiss (2006) it describes three
essential themes that are repeatedly
observed in theories of humour., but it is potentially significant to recognise
that three is an awfully convenient number that people like to use. These three
themes could be integrated into a single statement such that, incongruous
conceptualization describes the production of a symbolic absurdity and this production
is used discursively for expression which can have a political purpose in its social
context.
The three themes individually described by
Polimeni & Reiss (2006) are,
1) incongruous conceptualizations,
2) repressed sexual or aggressive feelings,
which may be described more broadly as approaching taboo topics and transgress
social expectations to achieve particular discursive objectives and
3)
humour elevates social status by demonstrating superiority or saving face. This
observation can be broadened to having a foucauldian aspect involving power and
identity and indicates that humour is something performed in a communicative
event, even if that event is with oneself as a self reflection. The description
of the demonstration of superiority may be demonstrating discursive competency
although humour is used for political purposes such as designating out groups
and deflecting criticism.
An example of a joke that functions
predominantly by its incongruous content can be found in Carty & Musharbash
(2008 : 210) description of the Red Dog
joke, which is as follows.
During the summer at Yuendumu, at a time when initiation ceremonies were going on, they saw Neils dog, Barbie, running into the camp with red ochre handprints all over her body. To translate the joke it becomes necessary to know that red ochre had significant symbolic power and was used to make things sacred and at the that initiation ceremonies had a significant gendered spatiality. The dogs owner Neil had been recently initiated and was quite fond of dogs, spending nearly as much time playing with dogs as socialising with people. Thus what was funny to the people in the camp was the absurd meaning of a red ochre on a dog and the meaning of the message of the handprints on the dog. Of course after explaining all this the joke is dead. ( from You’ve Got to be Joking : Asserting the Analytical Value of Humour and Laughter in Contemporary Anthropology. (2008))
The incongruity found in the Red Dog joke is due to the absurdity of the
human meanings of the elements found in the Red Dog joke. Although we can
appreciate the absurdity, the taboo content of the red dog joke is lost because
we don’t have a full understanding of its social context, we have not
internalized the rules that the joke transgresses. An example of a joke that
features a significant understandable transgressive content is Purdies Errol
Flynn joke.
The transgressive or taboo element is the
suggested knowledge that Erroll Flynn did not want a twelve inch pianist. To get the joke the audience has to know the
most likely word that rhymes with pianist, which is also suggested by the
adjectival component “twelve inch” thus the jokes incongruous conceptualization
is the derived semantic ambiguity of the noun phrase.
There is also a social dimension to the
Errol Flynn joke. This joke dates to at least the late 1930’s as Errol Flynn
was a famous silver screen Hollywood actor who
was known for his swashbuckling roles and had a reputation for womanizing. Thus
the social context of the joke is that Errol Flynn is someone known for his
opulent lifestyle and sensationalised affairs and the dwarf is assumed to be
part of this opulent lifestyle, this assumption is challenged by the semantic
ambiguity of the punchline.
The different functions and content of the
humour suggests that a cross cultural comparison if made, would be most
productive if it included an attempt to compare similar functions and content.
An example of classifying humour by
function, with lose associations with content can be found in Alfred
Malinowski’s (2013) Characteristics of
Job Burnout and Humour amongst Psychotherapists. Its uses a four part scheme by Malinowski
(2013) with the opposing categories of affiliative humour vs aggressive humour and self enhancing humour vs self defeating
humour. This study provides classifications of the discursive functions humour
is used and expands on the social status theme observed by Polmeni & Reiss
(2006).
The classification of self defeating humour
is correlated with emotional exhaustion and depersonalization, while self
enhancing humour is correlated to personal accomplishment (Malinowski 2013).
Depersonalisation is describing a cynical and negative attitude that distances
the individual from the (social) situation. Humour used reduces the amount of
anxiety and worry and produces positive emotions. Aggressive humour tends to
have a negative effect on the user and relationships. Adaptive humour consists
of affiliative humour and self-enhancing humour (from Martin et al 2003) that
forms and reinforces friendships, group relationships and group cohesion. Self enhancing humour is correlated with an
individual’s emotional well being.
Examples of adaptive humour can be seen in
Mahedev Aptes (1985) synthesis of joking
relationships, commonly seen between extended relatives in preliterate
societies. The joking appears to have the function of reducing potential
conflict and aggression. Tribal clowns as described by Colin Turnbull in his book
Wayward Servants: The Two Worlds of
African Pygmies, a study of the
Mbuti seem to have “face saving” functions despite their interfering role
(Polimeni & Reiss 2006 : 358), this is a social role .
Aggressive and Self defeating humour seems
to be correlated with emotional exhaustion, depersonalization and a lack of a
sense of personal accomplishment (Malinowski 2013). Aggressive humour is the
type of humour that uses sarcasm and teasing to relieve tension and to attract
attention. Aggressive humour may negatively effect the relationship of
individuals and lead to a lack of social support in times of crises. Self
defeating humour is humour that is used to make degrading remarks about oneself
for the approval of others, saying something critical or comical about oneself
to make other people laugh. Self defeating humour is correlated with high
levels of anxiety, depression and lower levels of self esteem. These are
correlations and correlation does not necessarily mean causality.
What these classifications potentially
describe in my opinion is play behaviour being introduced into situations of
adversity that has been classified into a four part scheme, certain types of
humour will be used by the individual when experiencing emotional exhaustion
and the compromise of normative expectations associated with a just world
hypothesis. Aggressive humour may be used in situations of intra-group / inter-group
competition and reflect the political situation of contested ground. I suspect
that “play behaviour” in the context of situations of aggression is potentially
dangerous as it reflects the depersonalization of the user and a reduced
evaluation of consequence, as “play is unreal”. I think this is what makes the
image of the Joker so malevolent, malice in the context of reduced evaluation
of consequence.
Perhaps adaptive humour is part of the
process of evaluating the situation, but there may be Focauldian processes in
its evaluation. For example the use of self defeating humour for the approval
of others may be an affiliative behaviour, a way of saving face. It can have
discourse goals (Burgers, Mulken & Schellens 2013) such as diminishing or
enhancing criticism by communicating the disparity between reality and the
ideal, the correlation of anxiety, depression and lower levels of esteem may
not be a causal relationship but simply
a reflection of the situation and its toll on the individual, correlation, not
cause.
Language in its broadest sense refers to a
symbolic system that is central to the construction of subject identity (Pye 55
: 2006) and humour in its many forms is a game of symbolic manipulation in
which the psychological and textual converge, and this game can use breaks in
the symbolic system to convey existential absurdity and human suffering (Pye 55
: 2006). The “breaks” are the overloaded signifying structures, the signifiers
and signified that are used in a semantic space. This is the significance of
the red dog joke, the red dog represents a break in the symbolic system, as it
is an overloaded signifier. A competent
adult doing this is demonstrating his awareness of the procedures of
signification and is therefore asserting an identity as a fully competent adult
showing skill in discourse. A child doing this may simply be learning how to
use language, which adults will find amusing, see types of narratives contained
in the comedy section of Readers Digest. Of course children tell jokes too.
A Foucauldian aspect is the construction of
individuals as a focus of humour, where the victim of the joke, comic figure,
does not have full control of the signifying system and thus is constructed as
being discursively incompetent. Other
breaks in the symbolic system are used to produce taboo results and transgress
social expectations, which are part of their appeal.
Does this explanation correspond to things
that can be said to be demonstrably real, to something biological? Damage to
the central nervous system tends to suggest the areas involved in processing
humour. Epilepsy patients with damage to the frontal cortex have been described
as acquiring a “humourless” personality and brain lesions to the right
hemisphere tend to have the greatest cognitive impairment on humour
appreciation. The right hemisphere is involved in “global attention” and the
expression and comprehension of emotion, and this includes the interpretation
of emotional material presented linguistically (Polimeni & Reiss 2006
: 356).
Magnetic Resonance Imaging (MRI) of unimpaired individuals found that
activation in the prefrontal cortex (MVPFC) bilaterally ” correlated with how
funny a joke is” (Polimeni & Reiss 2006 : 355). The importance of the left inferior frontal
cortex for the reconciliation of ambiguous semantic content with stored
knowledge in humour was suggested by a study by Moran et al (2004), described by Polemi & Reiss (2006), which
monitored humour detection & appreciation in individuals watching The Simpsons and Seinfeld comedies in an event related MRI experiment and found
significant activation of the left posterior middle temporal gyrus, left
inferior temporal gyrus, right posterior middle temporal gyrus and right
cerebellum. The temporal lobes tend to be related to the language component of
humour and prefrontal cortex is intimately involved in humour, in its detection
of semantic ambiguity and humour appreciation
The prefrontal cortex has many higher
cognitive functions and has projections from the subcortical dopaminergic
reward system. Its involvement in attention, incorporation of emotional
behaviour, semantic memory retrieval, episodic memory, working memory and
theory of mind suggest (Polimeni & Reiss 2006 : 356) and demonstrate the complexity of the cognitive
processes involved in humour detection and appreciation.
Humor is generally understood to be a
pleasurable, at least to the competent adults engaging in the activity and thus
must be linked to the subcortical dopaminergic reward system. From an
evolutionary perspective there is likely a direct or indirect selective
pressure for its existence and perhaps it is related to play behaviour in
mammals generally, which have learning functions. Mammalia is the only phylum
in the animal kingdom to feature play behaviour and many features of human
evolution have been extended from neotenic origins. This could be an example of a selected feature in human evolution deriving from a juvenile state, a neontic feature retained into adulthood that has been used in complex ways to serve a variety of functions.
Comic from Thatababy. By Paul Trap (2013) |
Bibliography
Burgers, Christian; Mulken, Margot van
& Schellens, Peter Jan. (2013). The use of co-textual irony markers in
written discourse. From Humour 2013,
Volume 26, No 1. Pages 45 -68.
Carty, John and Musharbash, Yasmine.
(2008). You’ve Got to be Joking : Asserting the Analytical Value of Humour and
Laughter in Contemporary Anthropology. In the Anthropological Forum. Volume 18. Number 3. November 2008. Pages
209 -217.
Malinowski, Alfred. (2013). Characteristics
of Job Burnout and Humour amongst Psychotherapists. From Humour
2013, Volume 26, No 1. Pages 117 -133.
Moran, J.M.; Wig, G.S; Adams, R.B; Janata, P & Kelley, W.M. (2004). Neural correlates of humour detection and appreciation. In NeuroImage. Volume 21. Pages 1055 -1060.
Moran, J.M.; Wig, G.S; Adams, R.B; Janata, P & Kelley, W.M. (2004). Neural correlates of humour detection and appreciation. In NeuroImage. Volume 21. Pages 1055 -1060.
Mosko, Mark S. (2009). The Symbols of “Forest” : A Structural Analysis of Mbuti Culture and
Social Organization. In the Journal
American Anthropologist, Volume 89, No 4 . Pages 896 -913.
Polimeni, Joseph & Reiss, Jeffrey. (2006). The First Joke: Exploring the Evolutionary Origins of Humor. In Evolutionary Psychology. Volume 4. Pages 347 -366.
Pye, Gillian. (2006). Comedy Theory and the
post modern. In Humour 2006, Volume
9, No 1. Pages 53 -70.
Recommended Websites
David Raymond Davis (April 2011) writes
about Collin Turnbull in “The Deconstruction Zone”